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Teodoro Vidal Collection of Puerto Rican History

About the Collection

In 1992, curator Marvette Pérez contacted Puerto Rican collector Teodoro Vidal Santoni after learning that he was interested in donating his extensive collection of Puerto Rican material culture. In 1997, after several visits and conversations over the course of five years, Mr. Vidal agreed to donate his entire collection to the National Museum of American History. This became one of the largest gifts by an individual to the Museum. One of the most important collections of Puerto Rican material culture in the world, it consists of more than 3,200 objects which date from the 17th to the 20th centuries.

This papier-mâché mask was made by Miguel Caraballo in 1985. Masks like this are typically worn by young men from the neighborhood, who don the costume of a vejigante , a character who roams the streets during Carnival, playfully scaring children and other revelers, and swatting them with vejigas (balloon-like, inflated animal bladders).

Mask maker Antonio Muñiz has added the horns of a traditional carnaval de Ponce mask (usually representing a devilish face) to a gorilla. This papier-mâché mask has an articulated jaw and a vinyl tongue.

Although introduced by Spanish settlers, the island's carnival celebrations, like mask making, music, and public performance, have developed into uniquely Puerto Rican traditions that also reflect the customs and sensibilities of Puerto Ricans' African ancestors. This carnival mask pictured here was made by Félix Vázquez. Its comical eyelashes are complimented by a set of teeth that once belonged to a horse or donkey.

The lore surrounding the Virgin of Monserrat originated in the jagged mountains of Catalonia, in northeastern Spain. In 1599, when she is said to have appeared to Gerardo González, a farmer, near Hormigueros, in southwestern Puerto Rico, she acquired a new set of traditions and imagery, unique to the island. Like many Madonnas, the Virgin of Monserrat is usually shown seated on a thrown, with her son Jesus Christ on her lap and a globe in one of her outstretched hands. In this example, the globe is missing. This figure shows the unique style of its creator, El Cachetón de Lares, (The Big-Cheeked Man from Lares), a name given to an anonymous santero by Teodoro Vidal, based on the large cheeks with which he endowed his carvings.

Based on lore and church documents, this figure illustrates the Miracle of Hormigueros. In 1599, Our Lady of Montserrat appeared to Gerardo González, a farmer near Hormigueros in southwestern Puerto Rico. Attacked by a bull, González invoked the name of the Virgin. Immediately, the beast fell, its legs broken and its forehead touching the ground as if in prayer. In gratitude, González built and dedicated a church to Our Lady of Montserrat. This figure dates from the beginning of the 19th century.

This especially fine figure of St. Raphael the Archangel, was carved in the 18th century. Rafael is one of several archangels (high-ranking angels) who exist in Christian, Jewish, and Muslim traditions.

This red painted tinware oil lamp was acquired in the town of Lares in 1959. Popular lore says that small oil lamps like this were used by women to meet at night and gossip. Chisme, means gossip, therefore the lamp was named a chismosa, or gossiper.

The yo-yo maraca is a Puerto Rican novelty that unites both a spinning top and a musical instrument of native origin called a maraca. The name "yo-yo" is a misnomer, since the toy functions like a spinning top.

Carnival celebrations featuring performers dressed as devils are found across Puerto Rico and throughout Latin America. The presence of these characters during Carnival is understood by many as an ancient reference to the contest between good and evil. This devilish mask shows the characteristic style of its maker, Leonardo Pagán. Born in 1929, Pagán was the student of a renowned mask maker, Juan Careta, who worked from the 1890s until the 1950s. After his mentor's death, Pagán masks became highly prized. Pagán died in 2000.

Into the 20th century, many considered sewing an integral part of the education of all young girls, who used needlework samplers like this one to learn and master patterns and stitches. Needlework and the skilled handling of a sewing machine helped many women to support their families. Clara Rivera sewed this sampler in the city of Ponce in 1934, combining text with geometric and floral designs.